VERSIÓN ESPAÑOL Dentro de la creación del videojuego, ¿qué papel juega su diseño? Este curso proporciona conocimientos y pautas sobre cómo diseñar un videojuego. Partiendo desde un concepto básico, se dan las pautas para trabajar correctamente sus conentidos, de cara a conseguir un objetivo claro: el documento de “game concept” que constituye el documento inicial sobre el que se basa cualquier videojuego. De cara a mejorar la comprensión de los conceptos, los ejemplos y referencias se fundamentarán en videojuegos reales, para permitir así visualizar el documento y cuáles son los resultados finales del diseño descrito en el mismo. IMPORTANTE Puedes seguir el curso también en Inglés (subtítulos y cuestionarios). _________________ ENGLISH VERSION Which role plays design in video games creation? This course provides guidelines and knowledge on how to design a video game. Setting off a basic concept, they give the guidelines to properly work on their contents in aim to get a clear objective: the game concept document is the starting document on which any video game is based. To improve the concepts comprehension, the examples and references will be based on real video games, to help us visualizing the document and which are the final results of the specified design. IMPORTANT You are able to follow this course in English (subtitles and quizzes).
Qué es diseñar
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來自 Universitat Autònoma de Barcelona 的課程
Diseño de videojuegos
200 個評分
從本節課中
Conceptos generales
En este primer módulo daremos una introducción inicial a qué son los videojuegos, ya que resulta indispensable para una posterior comprensión del proceso de creación y desarrollo de este tipo de productos de entretenimiento. Empezaremos por definir qué son los juegos, y por qué jugamos, para continuar analizando brevemente la historia de los videojuegos y el estado actual de la industria. Finalmente, señalaremos los roles principales presentes en el desarrollo de videojuegos, y explicaremos las diferentes tareas que implica diseñar.
與講師見面
Enric Martí GòdiaAssociate Professor
Computer Science
Pere Nolla RodríguezFreelance y Colaborador docente
Ciencias de la Computación (UAB)
After seeing some units about the
industry and its evolution, from now on we will begin
to talk about some key elements on game design,
which we will see with more detail during the next two modules.
To begin, in this unit, we will make a first contact with it talking on
what is the design task,
which derived aspects it involves and which is the designer's ideal formative profile.
Regarding the video games design information, we can find a lot
of specialized bibliography and the web also offers a lot of online resources.
A good starting point to have a general base on the video games
design could be the book The art of Game Design:
A book of lenses, by Jesse Shell.
Before we begin, we should get rid of some topic ideas
associated to video games design.
In first place, designing isn't just one task,
as it includes many tasks that can be very different from the rest.
On the other side we need to try to avoid confusing the term 'design'
with the terms 'art', 'artists', 'computer graphics' or 'graphics'.
Everything regarding the visual part creation, either in scenarios
or in characters and animations, isn't a part of the game design.
The game design includes thinking of and conceptualizing these elements,
but not making or creating them,
as the ones that do it are 2D and 3D artists or graphic artists and animators.
Another thing to take into account is the fact that usually we link the task of designing
games only with creative aspects, but it isn't the only thing done, as
they make other tasks such as managing, communicating and handcrafting tasks.
As a synthesis, the basic video games design tasks are:
creation at a concept level, documents generation, communication,
levels creation, design implementation and management.
Now we will briefly talk on them separately.
The conceptualization and creation part means, first of all,
thinking of what experience we want the player that will play with our video game to feel.
To do so it is necessary to set the kind of audience we are targeting
in aim to be able to make this experience suitable with the needs and wants of this target.
Then, the most important part is on thinking of the game mechanics,
and defining how they relate to each other.
It also includes the task of choosing a setting and a history
that match in a coherent way between them and with the desired experience.
This part directly influences the characters creation,
which implies thinking of their main physical and psychological characteristics.
Finally, the creation and conceptualization task includes thinking on
how the different levels are, and how the experience advances in the game,
that is, how to make playability evolve by linking the
game's difficulty and the player's ability during the game time.
Many kinds of documentation are generated during the development
process.
Let's see some of them.
High Concept.
It is a phrase that summarizes what is the game about.
Pitch.
Is a more detailed description on what the game is,
emphasizing the more commercial or marketing aspects,
the interests the public might have on it, differences with the rivalry, etc.
It is usually written considering that it might be targeted to a publisher.
Concept.
It is an even more detailed description in which all the basic and highlighted
aspects of the design appear, explained by their functionality and sense.
Finally, the Game design Document.
It's the written description more detailed about the game where all the necessary things
must be present, as well as playable, technical and artistic aspects.
This document is a living document which will be continuously updated
during the development, being used as a flexible guide to orient the production.
We find other documents such as the ones specified in each level's design
or the ones that take care of the history, the script and the dialogs.
At a communicative level, it is necessary being able to manage a lot of information.
It is especially important being able to explain all the concept part
as usually in this point all the ideas are abstract and on paper, and it is hard
to make the others understand the details and shades of each game proposal.
Also during all the development phase, communication becomes
essential when dealing with errors and corrections
that must be given to the appropriate departments and people
so that they can be solved.
During a video game's creation process a lot of people take part on it
and there is always a place for everybody's participation and opinion.
It is necessary to know how to integrate each one's contributions inside
the creative work flux.
Communicating correctly also involves listening in an active and emphatic way,
evaluating the possible validity of each point of view.
This active listening is what makes possible to integrate all the contributions
and favors the group work cohesion.
The part of levels creation is one of the most important ones in the process of
creating and designing a video game.
To begin, it involves defining each level's structure.
We must say the size and the proportions of the scenario,
which is the route the player should follow to explore and solve the level.
Subsequently it is necessary to fill the level with the different existing mechanics and
to balance its presence so that we get the desired experience.
In addition to balancing each level internally, we must balance
the different levels between them so that this way we keep a coherent
and appropriate cohesion in the playability all along the video game.
The concept of implementing the design involves going from paper to reality.
It is about introducing the interactive elements inside the game's engine
and making them work as it was planned in the design.
This involves processes such as blending the animations to a character's model,
and linking to each animation a specific situation that triggers it.
In example,
when we hit X button, the character executes the jump animation.
We must modify each mechanic so that it suits the others
and we get the desired game balance.
All this with the idea of achieving a concrete game
experience, which has been defined previously in the conceptual design.
Finally, a video game's design moves a lot of information,
descriptions, explanations, drafts, graphics, summary charts, texts,
errors and corrections lists, calendars and planning, etc.
This way we need to manage many aspects such as documentation
or the managing of the different tasks inside the work teams.
This includes being up to date with how the art and programming elements are being
generated, and how they are being integrated when implementing the design.
The designer can't focus on a specific task, moreover,
it is necessary that it has the capacity of keeping a general and global vision
on the project and its design.
This way, the designer is a good help and support
towards the doubts and errors that might appear in art and programming,
and also it helps him prioritizing tasks in a more efficient way.
After commenting on the basic design tasks,
now we will talk on some aspects in a more general level.
After talking on the basic design tasks,
now we will talk on some aspects at a more general level.
Designing involves making decisions.
This ability must look obvious and simple,
but doing it in a balanced and efficient way can be really difficult.
The decisions made carry a responsibility,
as they can affect the own work as well as the others'.
We must know how to manage pressure,
trust yourself and never forget listening to the others.
In fact, design must be conceived, not as one person's will,
not as a point of view or a criteria we must follow,
but another dimension in the game in which everybody has to take part.
It is also very important being up-to-date in the video games
world and in their social and temporal context.
The designer needs to be connected to this industry's reality
in aim to be able to create in a more efficient and correct way.
Finally, you might have noticed that,
especially in this unit, we have found the 'experience' concept a lot of times.
It is a key concept, as we use it as a reference point
when creating our video game.
Although we might think that designer's objective is making video games,
there is another point of view in which we conceive the objective of creating experiences
for the player.
We will follow this point of view.
We are going to create the design elements based on the experience
we want to provoke.
In the next module we will begin giving tools to
know exactly how the player's experience is defined.
We will finish this unit talking on the formative and knowledges profile
that is required on a designer.
The first thing to point out is the fact that it is a wide profile
in which the individual must manage a lot of fields.
Obviously he must be a specialist in the video games field,
with knowledges on any of the basic specialties,
either arts or programming.
Traditionally, designers came from one of these two specializations
and ended up focusing on the design.
Now, each time more, designers come with specific formation
profiles in the field of design.
Anyway, it is convenient that the designer has knowledges on both
specialties.
We must know how it is created and how the art is done,
and it also has to count on programming and technology basic knowledges.
Apart from the specific formation on video games, it is convenient
for a designer to have knowledges in fields such as cinema, scripting,
literature, comics, illustration, psychology, mathematics, logics, etc.
They are useful fields in many aspects of a video game's creative and
development process.
This doesn't mean he has to be an expert in all these fields,
which is impossible as we can't reach everything,
but it is necessary to have a wide and high level.
